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Table Of Contents
- Soundtrack Pro User Manual
- Contents
- An Introduction toSoundtrackPro
- Setting Up Your System
- System Considerations
- Connecting Equipment
- Example Hardware Setups
- Setting Up a System Using Powered Speakers
- Setting Up a System Using a USB Audio Interface
- Setting Up a System Using a FireWire Interface andaControlSurface
- Setting Up a System Using a Video Output Device
- Setting Up a System Using a PCI Video Interface Card withBreakoutBox
- Setting Up a System for Stereo Mixing
- Setting Up a System for Surround Mixing
- The SoundtrackPro Interface
- Setting UpSoundtrackPro
- Working with MultitrackProjects
- Creating and Opening Multitrack Projects
- Creating a Multitrack Project from FinalCutPro ClipsorSequences
- Closing Multitrack Projects
- Setting Project Properties
- Setting the Project Length
- Saving Multitrack Projects
- Setting Default Locations for Saving Media Files
- Adding Files to a Multitrack Project
- Viewing and Editing Clip and Track Properties
- Tracks, Busses, Submixes, and the Master Bus
- Working in the Timeline
- Working in the Timeline
- Moving Around in the Timeline
- Working with Tracks, Busses, and Submixes in the Timeline
- Adding Tracks, Busses, and Submixes
- Selecting Tracks, Busses, and Submixes
- Grouping Tracks, Busses, and Submixes
- Applying Changes to Groups of Selected Tracks, Busses, and Submixes
- Managing Track Selections with the Tracks Tab
- Moving and Copying Tracks, Busses, and Submixes
- Renaming Tracks, Busses, and Submixes
- Changing a Track, Bus, or Submix Icon
- Using the Track Controls
- Removing Tracks, Busses, and Submixes
- Selecting Audio Clips in the Timeline
- Selecting the Entire Contents of a Track
- Selecting Partial Contents of One or More Tracks
- Cutting, Copying, and Pasting Audio Clips
- Spotting Clips to the Timeline
- Moving Clips
- Snapping Clips to Clips on Adjacent Tracks
- Resizing Audio Clips
- Changing the Offset of an Audio Clip
- Creating Fades and Crossfades in the Timeline
- Truncating Overlapping Audio Clips
- Editing Audio Clips in the Multitrack Timeline
- Using the Timeline Editing Tools
- Timeline Editing Tools HUD
- Editing in Place
- How Clips Are Affected by Media File Editing
- How Source Audio File Editing Works in a SoundtrackPro Multitrack Project
- Modifying a Clip Without Affecting Its Source Media
- Using the Multitrack Timeline and the File Editor Together
- Spotting Sound Effects from the File Editor to the Timeline
- Splitting and Joining Audio Clips
- Editing with the Timeslice Tool
- Using the Lift and Stamp Tools
- Working with Markers
- Using Markers with Video
- Working with Tagged and Looping Clips
- Replacing the Source Audio in a Clip
- Working in the Timeline
- Editing Audio Files
- Audio File Projects
- Editing Audio Files Directly in a MultitrackProject
- Editing Audio Files in the File Editor
- Opening Audio Files in the File Editor Tab
- Playing Audio Files in the File Editor
- Soloing an Audio File in the File Editor
- Linking the File Editor Selection and the Cycle Region
- Scrubbing Audio Files
- Selecting Part of an Audio File
- Cutting, Copying, and Pasting in the File Editor
- Zooming In and Out in the File Editor
- Editing Audio Files Graphically with Waveform Editing Tools
- Choosing the Sample Units in the File Editor
- Editing Multichannel Files
- Using Frequency Spectrum View
- Processing Audio Files
- Working with Actions
- Applying Actions
- Editing Actions
- Adjusting and Applying Action Selections
- Turning Actions On and Off
- Reordering Actions
- Using the Action Insert Bar
- Reversing the Order of the Actions List
- Flattening Actions
- Comparing the Project With and Without Actions
- Comparing the Last Two Actions
- Deleting Actions
- Limitations of Actions That Change the File’s Length
- Analyzing an Audio File
- Using the File Editor Project View
- Opening the File Editor Project View
- Setting the Time Ruler Units in the File Editor Project View
- Closing Audio File Projects
- Applying Realtime Effects in the File Editor Project View
- Automating Realtime Effects in the File Editor Project View
- Rendering Realtime Effects to Actions
- Saving Audio File Projects from the File Editor Project View
- Saving Audio Files from the File Editor Project View
- Using the Timeline Controls in the File Editor Project View
- Scripting Actions in the File Editor Project View
- Using the Global Waveform View
- Using Markers in the File Editor Project View
- Using the Multitake Editor
- Basic Mixing in SoundtrackPro
- Steps in Mixing
- Structuring an Audio Post-Production Project
- Using the Mixer
- Working with Channel Strips in the Mixer
- Using Custom Layouts for Mixing
- Adding Channel Strips to the Mixer
- Selecting Channel Strips
- Reordering Channel Strips
- Copying Channel Strips
- Setting Channel Strip Volume Levels
- Setting Channel Strip Pan Position
- Setting Channel Strip Output
- Muting and Soloing Channel Strips
- Enabling Track Channel Strips for Recording
- Renaming Channel Strips
- Changing a Channel Strip Icon
- Showing and Hiding Sections of the Mixer
- Using the Channel Strip Level Meters
- Removing Channel Strips
- Working with Effects in the Mixer
- Working with Sends and Busses in the Mixer
- Setting the Overall Project Volume Level
- Using the Master Bus
- Listening to a Temporary Mono Mix
- Recording Audio in the Mixer
- Recording Automation in the Mixer
- Creating Multiple Mixes
- Things to Keep in Mind While Mixing
- Working with Channel Strips in the Mixer
- Mixing Surround Sound
- Working with Video inSoundtrackPro
- Working with Audio Effects
- Processing Effects and Realtime Effects
- Working with Effect Presets
- Audio Effects Included with SoundtrackPro
- Working with Realtime Effects
- Working in the Effects Tab
- Adding Realtime Effects
- Adjusting Realtime Effect Parameters
- Chaining and Reordering Realtime Effects
- Bypassing Realtime Effects
- Adding Sends to Tracks
- Choosing the Bus to Which a Send Is Routed
- Adjusting Send Volume
- Adjusting Send Pan Position
- Reordering Sends
- Bypassing Sends
- Automating Realtime Effect Parameters
- Resetting Realtime Effects to Their Default Settings
- Removing Realtime Effects
- Working with Processing Effects
- Working with Automation
- Working with Envelopes
- Track, Bus, and Submix Envelopes
- Adding Envelope Points
- Selecting Envelope Points
- Moving Envelope Points
- Selecting and Moving Envelope Points with Clips
- The Timeslice Tool and the Envelope Selection Mode
- Viewing and Editing Envelope Point Details
- Changing the Values of Envelope Points Numerically
- Changing the Position of Envelope Points Numerically
- Nudging Envelope Points
- Cutting, Copying, and Pasting Envelope Points
- Deleting Envelope Points
- Automating Effect and Send Parameters
- Master Bus
- Recording Automation Data
- Working with Envelopes
- Recording Audio inSoundtrackPro
- Creating Podcasts inSoundtrackPro
- Using Control Surfaces withSoundtrackPro
- Exporting Multitrack Projects
- About the Export Dialog
- Exporting and the Cycle Region
- Exporting a Master Mix
- Exporting Tracks, Busses, and Submixes Separately
- Exporting Multiple Mono Files
- Using Post-Export Actions
- Using Export Presets
- Exporting to AAF
- Saving Multitrack Projects
- Distributing a Multitrack Project and Its Media FilesTogether
- Using SoundtrackPro withOtherApplications
- Using SoundtrackPro with FinalCutPro
- Using SoundtrackPro with DVDStudioPro
- Using SoundtrackPro with Motion
- Using SoundtrackPro with Third-Party Applications
- Using Conform with FinalCutPro
- SoundtrackPro KeyboardShortcuts
- General and File
- Layouts, Tabs, and HUDs
- Navigating the Timeline
- Project Playback
- Cycle Region
- General Editing
- Editing Audio Clips in the Timeline
- Moving Audio Clips and Envelope Points
- Viewing the Timeline
- Timeline Tools
- File Editor Project View Tools and Commands
- Processing and Editing Audio Files
- Tracks, Busses, and Submixes
- Markers
- Selecting Audio Clips in the Timeline
- Video Out
- Recording
- Using Arrow Keys to Move the Playhead
- Working with Timeslices
- Audio Fundamentals
- Working with Professional Video and Audio Equipment
- About Video Interfaces, Signals, and Connectors
- About Audio Interfaces, Signals, and Connectors
- Tips for Choosing Speakers and an Amplifier
- Connecting Professional Video Devices
- Connecting Professional Audio Devices
- Working with Apogee Hardware in SoundtrackPro
- Solutions to Common Problems andCustomer Support
- Using AppleLoopsUtility
- Index
332 Chapter 11 Working with Audio Effects
Dynamics Effects
Dynamics effects let you adjust the dynamic range (the range between the softest and
loudest sounds) of your projects. You can use dynamics effects to make sounds more
focused and to optimize the sound for specific playback situations. Dynamics effects
include compressors, limiters, and noise gates.
Compressors
Compressors work like an automatic volume control, lowering the volume whenever it
rises above a certain level, called the threshold. But why would you want to reduce the
dynamic level? By cutting the peak levels, the compressor lets you raise the overall
volume of the signal. This gives the sound more focus by making the foreground parts
stand out while preventing the background parts from becoming lost in the mix.
Compression also tends to make sounds tighter or “punchier.” Because the peaks are
lower, the maximum volume is reached more quickly.
In addition, a compressor can make a project sound better when played back in
different situations. For example, the speakers on a television set or in a car sound
system typically reproduce a narrower dynamic range than does the sound system in a
theater. Compressing the overall mix can help make the sound reproduce more clearly
in lower-fidelity situations.
Compressors have two main parameters. The threshold lets you set the amplitude above
which the compressor lowers the volume. The ratio lets you control the amount by which
sounds above the threshold will be lowered, as a percentage of the original signal.
For example, if you set the threshold to –12 dB, and the ratio to 2:1, a sound at –7 dB
(5 dB above the threshold) is reduced by 2.5 dB, and a sound at –2 dB (10 dB above the
threshold) is reduced by 5 dB.
Compressor plug-in